Yea, I wasn't sure how fast my shutter should be because she runs around and doesn't sit still, and I didn't want a lot of motion blur. When I'm shooting video, I always shoot with the shutter at double the frame rate (i.e 24fps, 1/50 shutter). I'll just try a few different things. I was also shooting on an 85mm prime, maybe I'll got with a wider lens next time, possibly my 35 or 50.

Yea, I shoot manual focus, but she kept shaking her head around playing and this was the clearest I could get it. I shot at f1.8 so I could boost the shutter up to about 1250 since she wouldn't sit still. I come from a video production background and I always focus on the eye, especially for interviews. I've just started to explore the world of still photography so hopefully my practice will make me better. Thanks for the feedback. I was trying to go for the softer look to give it a dreamy, surreal sort of feeling, just wish I had a few more shots before she tore the leaf to shreds lol.

This is the workflow I used as an assistant at the first post-production studio I worked at. I've carried it with me for all my projects.

First step is to set up project media space on a drive. We had an Editshare system (basically a central server that had like 10TB of space for all of us to access), but this works for my personal hard drives as well. I usually set up a project folder from a template directory that I use with all my projects [see here]. I store all my raw files here. If I have multiple days, in the Audio and Video folders I will make subfolders corresponding to the date which the video was shot and then subfolders within those corresponding to each camera if its a multicam shoot (Ex: Video>011215>A Cam).

The next step is to transcode my footage. At the studio, the transcoded footage was hosted in a separate area. We edit in Avid, and would usually transcode as ProRes Proxy. This saved space on our server and allowed us to fast import into Avid. To transcode, I use a program called Episode. For my personal projects, since I act as my own online editor and don't worry about sharing server space, I usually just transcode to ProRes HQ.

Once transcoded, all the materials would be imported into Avid. I would organize my folders and bins the same way that I have in my template. Then I go through the process of syncing and subclipping my materials. I mainly use my keyboard and tablet to edit, so I have all my shortcuts customized to my liking. The actually cutting process then begins. I start by reading any script notes and going through takes. I mark all the good shots, etc and assemble a rough edit. Every time something drastic is going to change (music, shot changes, cutdowns), I duplicate my sequence so I can always compare old cuts.

Once we have picture lock, the online process begins. If I had everything in Proxy, I will need to upres the footage and prep it for online and mix. On my personal projects, I do a quick color pass, add any GFX, and do a sound mix. Last step is exporting the final project and then transcoding whatever format the client needs (h264, wmv, prores, any tape layoffs, etc).

That's basically the short answer..... but if you need anything explained in more detail or none of it makes sense, feel free to ask me any questions.

If you have permission, you can just put green poster board over the area and have tracking markers on it if you're going to be doing any moving shots. If it's going to be locked down, you can always just overlay an image in after effects and roto anything that walks in front of the screen

Did you transcode to Avid DNx or ProRes? You can always transcode at a lower res to save space and then up res your footage when you have picture lock. Not sure what kind of work flow works for you, but that's the process I usually go through in that situation. One you import all your footage into Avid though, you won't need the source file, it will all be in the MXF folder. However, I never delete my raw video. Too much shit can go wrong, always keep it backed up.

It seems like just a random collection of personal footage and gigs thrown together. I'd take out some of the shots that don't flow as well, such as the dog that is laying and looks dead towards the beginning. I'd also invest in a tripod, a lot of the footage is shaky. Handheld is not bad if you have a rig or something to stabilize it, but when shooting on a DSLR (which is what I'm assuming most of this was shot on), having a tripod is almost a necessity. Also, try to find some creative cuts on the beat, it's a very straight forward edit. Being straight forward on a cut isn't bad, but it draws out after a while and can get boring. I'm also more of a fan of more uptempo and exciting music for reels, they draw me in and make me want to stay. The music in your cut feels like a darker sort of ambient.

Here's mine if you wanted to take a look. I've been doing this for a few years now so I'm happy to answer any questions you may have. Hope my criticism helps out!